After researching Edgar Degas and Henry Matisse I felt confident enough to do some figure drawings. Their works not only gave me confidence to do what I wanted to do but they also influenced me greatly.
I chose the image above because I think it is a successful mono print. After much trial and error I got the balance right in between line, colour and texture. Like Edgar Degas monoprints I used black and white as the main colours. I also used a similar technique of wiping, scraping, scratching and fingerprinting off excess paint. I tried to do what Edgar Degas did with his luminous passages emerging from deep blackness. I started off with black paper and covered my printing plate with white hoping the drawing of my pregnant fairy would be in black. I used yellow to add some light.
Above, I experimented with printing on fabric. The image is more relaxed and the colours bleed into each other. It is almost like a stain. I would like to have more time to explore and develop my prints on different fabrics and possibly adding some stitching and embroidery.
Above: I am pleased with these prints because they depict all of my findings through part four. They remind me of all the markings that can be achieved with found objects and how I can use monoprinting as a means to build on in the future. I have learnt that I can add layers to my prints to reach a desired effect. This image is very vibrant and busy in contrast to the one above. It is also an achievement for me that I can do both vibrant and monochrome prints demonstrating that I can allow the composition of my work to inform me of colour and texture.
Above; I took a risk with this one! I chose to print a colourful mono print on lace. You wouldn’t usually put these two combinations together. I wanted to investigate different textures and push the perimeter of mono printing. This sample still leaves me with unanswered questions; what would I use this lace for? Is one of them, what would this print look like in velvet?. It would be interesting to investigate my prints on different fabrics to compare the outcomes.
Above: these prints are all inspired by Henry Matisse cuttings and the process was a complete revelation. I enjoyed rediscovering the art of stencils and cutting shapes to simplify a shape (in this case a body). I am proud of these prints because they are a direct response to my research. In researching Henry Matisse I almost felt his energy and excitement when he explored cuttings. This excitement rubbed off on me. I also left behind a lot of my hang ups about my “naive” work and learnt to embrace it. Using the positive and negatives stencils of a drawing to create a print was very interesting and enlightening. It is a technique that I would love to explore further.
I really enjoy the prints above because I feel like I have created my own interpretation of my favourite landmarks of Madrid. One is in black and white with a small proportion of colour. I allowed my research on mark making to inform me so that I could come up with the essence of Madrid. This alone excites me and encourages me to do more prints. The second print is an overload of texture and colour but in my opinion it works!
What I have also learnt is that I don’t always have to research loads of artist. Sometimes It is good to focus on one or two so that I don’t get confused and loose my voice. This is something I have done in the past. I have been able to successfully look at the artists that Inspired me and take from them a few elements to explore. In doing this I have been able to come to my own conclusions and therefore to carry on developing my own voice.